MUGDHASAPRA
ENROLMENTNO. 35217601618
YEAR:2018-2023
RESEARCHPAPERGUIDE:AR.SARIKANARAYAN
RESEARCHPAPERCO-ORDINATORS
PROF.RASHMIB.TANDON&MR.AKASHSHARMA
SubmissionNo:06
DateofSubmission:29-04-2022
COLLEGEOFARCHITECTURE
VASTUKALAACADEMY
9/1QUTABINSTITUTIONALAREA,ARUNAASAFALI MARG
NEWDELHI– 11006
Abstract: Architecture and dance are creative fields that have a special relationship between them. Both the fields deal with three-dimensional spaces. In order to know the utility of a built form, it requiresus to knowthearchitecturalspacearound us.An architecturalspaceisbuiltby activitiesand oneofthemisdance.Therefore,itgovernsourdesign.Movement,space,andtimearethreeparameters that link architecture with dance. Like other art forms, both use the principles of design: balance, rhythm,line,andmass.We can relatedancewith architectureasarchitectsdesignspacesanddancers createchoreographieshence botharecreators. Whenweareable to relatedancewitharchitecturewe can focus on the procedure and the route to the final product. India is a land of diverse cultures and different types of dance forms. Earlier, Bharatanatyam was performed inside the temple in a space designated called mandapa. This research paper is about knowing what kind of space is needed for Indian classical dance forms especially Bharatanatyam with the help of case studies and a questionnaire answered by Indian classical dancers and architects. Also, it will deal with how dance movementgeometryandposturewillimpactthespacesaround us.
Keywords: Indian classical dance; built form; spatial boundaries; dimensional qualities; Bharatanatyam
Introduction
Architecture is a form of art that has three important aspects: - The aesthetic of a building, the space utilisation,andthestructure. Architectureand dancearecreative fieldsthat haveaspecialrelationship betweenthem.Boththefieldsdealwiththree-dimensionalspaces.Weneedtounderstandtheutilityof abuiltspacearoundus.So,movement,space,andtimearethreeparametersthatlinkArchitecturewith dance. When a dancer is dancing, he/she looks around and marks the spatial boundaries, this is what relatesdancewiththebuiltspaces.Thedancersusetheirbodiestoexplorespacewiththegeometrically preciserenderingofdifferentmovements.Thesethreeparametersareneededforarchitectureanddance tocoexist.
In my understanding movement demonstrates the experience of special qualities in architecture, our movement helps us understand the space around us.Space is needed by ahuman body for performing an action for example dance. As dance forms evolved in India so are the spaces designated. Time in dance is seen through rhythm. Thalam, Jati, and Gati are three important features that determine the timeinBharatanatyam.
Architecture and dance are relatable as architects design spaces and dancers create choreographies, hence bothour creators. When we are able to relate them, we canfocus on the procedure, the route to thefinalproduct.“Aplaceisapoeticexpressionofa siteandthegatheringofexperiencesitcontains” (Haigood,2009).Dancersinteractwiththesiteandperformaccordingtothat.Danceisaffectedbythe built space around it for which it is performed. A site-specific choreography related architecture with danceaswedanceaccordingtothebuilt space.
India is a land of diverse cultures and a variety of dance forms. Indian classical dance is a term for various performances which were found in a book by Bharata Muni i.e., Natyashastra, the grammar book of Natya or drama dated sometime between 200 BCE- 200 CE. Bharatanatyam is an Indian
Mugdha Sapra/ The Inter-relationship between Bharatanatyam and Built Space.
classical dance form that originated in Tamil Nadu (Natyashastra). In the word Bharatanatyam, Bha meansemotion,RameansMusic,TameansRhythm,andNatyammeansdance.Itexplainstheconcept of drama, dance, and the history of dance forms in India. Lord Shiva is considered as the God of Bharatanatyam. Originally it was a temple dance for women, Bharatanatyam often is used to express Hindu religious stories like Mahabharata and a form of ritual offering to the god. A Bharatanatyam dance performance consists of seven sections which have a traditional order from Pushpanjali to Thilana:
Pushpanjali(offeringflowers)
Alarippu(rhythmic)
Jatiswaram(melody+movement)
Shabdam(expressive)
Varnam(puredance+abhinaya)
Padam(lyricalpassage)
Thilana(floorchoreography)
The history dates back to 200 BCE- 200 CE, traces of Bharatanatyam are there in a book by Bharata Munii.e.,Natyashastra.Thefirststageofthebookisaboutbhavasandthesecondstageisaboutprose. Duringthe Chola period(600 BCE – 300 CE),there was asharprise seenin the importanceofthe art form&thetemplestructure.ChidambaramNatarajaTempleinTamilNaduhasgatewaysembellished with sculpture representations of 108 dance poses of Bharatanatyam. Earlier Bharatanatyam was performedbyDevadasisandwasknownasDasiyattam.BharatanatyambeganduringtheNayakaperiod in Tamil Nadu Around the late 16th or 17th century. During the 19th century, a temple was not just a place of worship, butalso a conventioncentre for spiritual conversation. Themain hall of this temple, TheNrittaSabha(designedasdictatedintheNatyashastra),wasdedicatedtodance.
According to Retna Ayu Puspatarini(2014) through the concept of being in the world: the utility of a building,andconstructionofabuildingplaysimportantroleinarchitecture.Thecontainerandcontent concept wasusedin whichdanceis thecontent and architecture is the container.A dancershould pay attentionto the physicalspaces.Acasestudy ofPendhapaAgengSasana Sewaka,Indonesia wasused toanalysetherelationshipbetweendanceandarchitecturethroughtheconceptofbeingintheworldin whichbeingisthedancerandtheworldisarchitecture.
According to Dr M Elango (2021), architecture and dance are fields with three-dimensional spaces. Theyarebasedonthemovementoftheuserinthespacedefined.Acodegeneratedfromthemovements of Bharatanatyam and a dance named alarippu was used to design architectural forms. The author quoted that the meaning of spacecan be only determined through sight, touch,smell,andhearing. An approachofparametric architecturewasusedinderivingarchitecturalforms.
According to Mukta Naik (1997), Dance is a series of visuals formed in the human brain, and Architecture is themother of all gods. Architecture also aims at creating sensitive and emotive spaces thatpleasetheaesthetic sensibilities.Theauthor’sapproachwas to design moresensitivebuildings by understanding feelings. The process of movement from physical to metaphysical is most important. Case studies of Jawahar Kala Kendra in Jaipur, Sangath in Ahmedabad, and Traditional house, Kanchipuramwere studied.
ThisresearchpaperaimstounderstandtheimpactofIndianclassicaldancemovementsonbuiltspaces inthecontextofBharatanatyam.Theobjectivesofthispaperinclude:tounderstandtheBharatanatyam dance form in the architecture it is practised in, to study the relationship between built spaces and Bharatanatyammovements,andtostudywhataretherequirementsforanIndianclassicaldancecentre.
The process will be carried out through conducting questionnaires, secondary case studies, and establishingliteraturereviews,surveys,etc.Theauthorwillhavetocarefullystudythesubjectsofdance and architecture in relation with each other. A questionnaire will be prepared by the author based on which the inter-relationship between Bharatanatyam and built space will be analyzed. Inferences and recommendationswill begiventofuturearchitectsfordesigninganIndianclassicaldance centre.The scope of this paper is to understand through questionnaires and case studies that how a built space should be designed for an Indian Classical Dancer especially Bharatanatyam. Every movement of a dancerwillhelpinunderstandingthespacearoundhim/her.
Bharatanatyam serves as a medium of language. The traditional order of the Bharatanatyam is Pushpanjali(offering),Alarippu(rhythmic),Jatiswaram(melody+movement),Shabdam(expressive), Varnam (pure dance + abhinaya), Padam (lyrical passage), Thillana (floor choreography). The recital is structured like a great temple. We enter through the gopuram (outer hall) of Alarippu, cross the asdhamandapam(halfhall)ofJatiswaram,andthenthemandapa(dancefloor)ofShabdam,aspacethat gives the dancer a wide range of rhythm and music. The journey is carried out by a dancer with full energy,similarly,anarchitectbuildsaspace.Theintensityofstepsincreasesthroughthejourneyfrom PushpanjalitoThilana.
The contribution of Indian temple architecture to Indian classical dance forms is quite evident. The earlyinfluencecanbeclearlyseeninChidambaramTempleinTamilNadu.Thetempleisdedicatedto LordShivaandhas108KaranasfromNatyashastra.Thetemplescontainedapillareddancehallwhich is natmandapa. It is a major component of temple architecture. These pillars are carved from top to bottom. The lower levels have dancers in Bharatanatyam mudras accompanied with expressive musicians.
ThedancerslivedintemplessolelydedicatingtheirlivestoIndianclassicaldanceforms.Theplatform ofthepillareddancehallischaracterizedbypillarsandthelocationissuchthatitisontheprimaryaxis of the garbhagriha (sanctum sanctorum) and is equally visible from all locations in the temple. (Vatsayan,1984).Thearchitecturalelementsofatemplecompositionarearrangedstaticallyinaspace, theirpositionsandinterrelationshipsfixedinstone.
Mugdha Sapra/ The Inter-relationship between Bharatanatyam and Built Space.
1: East gopura
2: Nritta Sabha
3: West gopura
4: North gopura
5: 1000 pillared hall
6: Shiva Ganga pool
7: Devi temple
8: Shiva Sanctum + Chit Sabha + Kanaka Sabha
9. Vishnu shrine
Basedonthemodeof performanceandusage,dance canbeclassifiedunderthreemainheadings such as Nritta, Nritya, and Natya. Nritta means pure dance, a presentation of rhythm through graceful movementsofthebody.Footwork pleasea majorroleinit.Nrityaconsistsoffootworkand Abhinaya (expressions).Angika abhinayarelatingtoHasta,eyes,lipsetc.areveryimportantinNritya.Theterm NatyaisderivedfromthewordNat,meaningtodance.Thus,Natyaistellingastorythroughdance.
ThediagramaboveshowsthemeaningofNritta,NrityaandNatya.
Figure1 NatarajaTemple,Chidambaram
Rasaisaboutthehumanstateofmind.TheconceptofrasaintheNatyashastraisnothingbuttheanalysis of experience through which the spectator goes whilewatching a drama, beit dance or architecture. It isanIndianconceptofaestheticflavourtoadanceform.Weneedtounderstandthisprocessforcreating choreographyanddesigningabuiltspace.Inthiscase,thequalitiesofthespectatorbecomeverycrucial asthespectatorviewstheperformanceandanalyzesitsrelationwiththebuiltspaces.Togetexpressions in architecture architect needs to focus on every aspect of the building. The buildings should be rhythmic.Architects are expected tomakeconscious efforts torecognisethese principlesand regulate them for the better inalldesign activities. As seeninTable 1, there is a relationbetween architectural buildingsandRasa.
Table1 TableshowingNavrasarelationwitharchitecture
Rasa Bhava Meaning Relationwitharchitecture
Colourattributed
Shringar (Romantic) Rati Delight TajMahal,Agra Purple
Hasya (Humorous) Hasa Laughter ColourfulBuilding
Karuna(Pathetic) Shoka Sorrow DullBuilding,Closedcourts
Raudra(Terrible) Krodh Anger Lookingdownfroma tallstructure
Veera(Heroic) Utsaha Heroism Murudeshwar Temple,Karnataka
Bhayanaka (Fearful)
Bhaya Fear PrabalgadFort, Maharashtra
White
Lightgrey,white
Red
Lightgreen
Black
Vibhatsa (Odious) Jugupsa Disgust FishBuilding,Hyderabad Blue
Adbhuta (Wondrous)
Vismaya Wonder WorldOne
Yellow
Shanta(Peaceful) Calm Peace FallingWater
Movement, Space and Time
Nocolour
Movement,space,andtimearethreeparametersthatlinkArchitecture withDance.Thesethree
Mugdha Sapra/ The Inter-relationship between Bharatanatyam and Built Space.
parametersare neededbyarchitectureanddancetocoexist.
Movement: In my understanding movement demonstrates the experience of special qualities in architecture.Movementcanbeinanydirectionandinanyspaceframe.So,fromtheNatyashastra,the movementsinBharatanatyamcanbeclassifiedas:
•Padabedhas-legmovements
•Hasthabedhas-handmovements
•Greevabedhas-neckmovements
•Drishtibedhas-eyemovements
Movement is restricted to horizontal, vertical, and horizontal lines. The types of movement in architectureare:
Still Unidirection Twindirectional Radialmotion Freeflowing
StudyofmovementinvariousstagesofBharatanatyam:
Pushpanjali Alarippu Jatiswaram Shabdam Varnam Padam Thilana
Space: Space is needed bya human bodyfor performingan action for example dance. Our movement and posture require a well-defined built space. Space is the part of the building we move through and experience.ThethreebasicposturesofBharatanatyamare:
Sampadam:ThisisalsoknownastheSthanakam.Inthisbasicposture,thebodystandsstraightandthe toesabitapartfromeachothertogivetheposturea balancedlook.
Aramandi:Inthispositionofthebodyposture,thefeetremainapartonothersides,itincludesdiagonal andhorizontallines.
Muzhumandi:TheMuzhumandipositionrepresentsthefullsittingpositioninBharatanatyam.Thefeet positioniskeptthesame asAramandiposition.
Figure2 Sampadam Aramandi MuzhumandiTheheightdifferenceinthethreestancesasshowninfigure2isaneffectivewayoftheusageofspace. Wegettoknowaboutthespaceutilizationthroughthethreeheights.
Time: Bharatanatyam is always time-bound. There are 3 differentaspects that determine thecomplete time–thalam,jathi,gathi.
Thalam: It refers to the time cycle using a combination of the angams (parts) of thalam.
Jathi:Thenumberofbeatswithinthattimecycleorthalam.Thereare6jathis,hence aperfectcombinationof7x6=42thalamsispossible.
Gathi: This refers tothe numberwithin every beat. It is also known as Nadai. There isatotalof5gathispossible.
Nataraja Temple is located in Chidambaram, Tamil Nadu. The temple represents Hinduism’s sacred philosophies. The temple link human body, architecture and dance with each other. It was built by Cholasbetween 12thand 13th centuryin the Dravidian style of architecture. This temple is dedicated to Lord Shiva. He is worshipped here for his dancing form (Nataraja) Rather than the usual Shiva Lingam.ItissaidthatLordShivawasseenhereperformingthe AnandaTandava.Thistempleitselfis dedicatedtoBharatanatyam.
ThetemplehasninegatewaysandfourofthesehaveGopurameachwithsevenlevelsinallofthefour directions. The eastern Gopuram has all the posters of Bharatanatyam sculpted on it. Each sculpture represents the different aspects of human life. These dance poses on the walls were brought to life by devadasis.Thebuildingitselfisconstantlyparticipatinginamovement.ThePanchabuthasthala,refers tothetemplesrepresentingfivedancehalls:Chidambaramishometothegoldhall.Thetemplehasfive mainHallsorSabhaswhicharetheKanakaSabha,theChitSabha,NrittaSabha,DevaSabhaandRaja Sabha.
Mugdha Sapra/ The Inter-relationship between Bharatanatyam and Built Space.
TheChitSabhaistheshrineoftheChidambaramTemplecomplexknownasthehallofconsciousness and the heart of the man. The south-facing sanctum does not culminate inner Gopuram instead it is crowned by your hip curved roof covered in gold tiles. The eastern half of the sanctum symbolises visible light and unlike other Hindu sanctums is not dark. On this level there is also a crystal lingam representing Shiva as Chandramaulishivara. The western half of the sanctum represent it rain sound. Thesignificance of thespecialdesignofthesanctumisseeninthe parallelanalysisoftheprincipleof creation.
The Raja Sabha or thousand pillared hall is the architectural representation of the crown Chakra. The KanakaSabhasouthoftheChitSabha,consistsofagranitebase,woodendoorsandpillarsthatsupport a copper covered wooden roof. This golden roof is said to be gold because of the glimpse of cosmic dancersfromcloseproximity.Adailyworkshopof theNatarajaiconisheldhere.
TheNrittaSabhaorthedancehallisa56pillareddancehallsituatedinthesouthsectionofthesecond courtyard that circumambulates the Natraj sanctum of the complex. Figure 3 shows the Nritta Sabha markedasq.Thehallisrectangularconsistingofthreestackedsquares,a15msidedSquarethatisthe main hall, which is connected to a 4 m x 8 m rectangular Mukha-mandapa to its north. The hall now has50pillars,butevidencesuggeststhatithad56ormorepillarsearlier.
Thesepillarswereintricatelycarvedfromtoptobottom.ThelowerlevelshavedancersinNatyashastra mudras and are accompanied with musicians. The Nritta Sabha platforms base is carved as a chariot, withhorsesandwheels,asifitisrisingoutoftheground.Thenorthernnicheofthehalliscoveredwith 14 figuresin additionto Shiva as Kanakamurti. The 14 figures include Surya, Chandraand12Rishis. TheNrittaSabhaisconsideredasthesecondoldestbuildinginthecomplex.
Inferences:
Alotofimportanceisgiventonaturallightandventilation.
Useoflocallyavailablematerialslikestoneandbrick.
Aseparateraisedpillaredhallwasdedicatedtodancewhichisanopen-airspace.
Kalakshetra dance academy is located in Chennai, Tamil Nadu. It is an academy that teaches Bharatanatyam dance and Gandharvaveda music. It was founded by Rukmini Devi Arundale. Under Arundale'sguidance,theinstitutionachievednationalandinternationalrecognitionforBharatanatyam. Kalakshetra is made of words Kala + Shetra meaning “a devotional Centrefor arts”. It has a site area of 40 ha. As one enters the site peace and calm settle over our ears. Vehicles seem out of place on campus. All of the roads are shaded well with trees onboththesides and givesthe campus an avenue appearance.Thecampushasacooltemperatureduetoalotoftreessurroundingthecampus.
Classroom areas with mud grounds and the different kinds of trees make the campus closer to nature. Thereis a seating area near the shady trees. Blocks arearranged radicallyaccording tothe focal point of trees or sculptures etc. There are small sculptures like horses and elephants which are zoned in various spaces of the academy. The trees also act as a noise buffer on the site. The classrooms, auditorium and the prayerhall are coveringthe central part,whilethe administrative parts,dining hall
and school coversthe outer region. The classroomsaresingle roomsindividual cottages with separate plinthsandhaveslopingtileroofswhichshowsthetraditionalGurukulspaces.
Mugdha Sapra/ The Inter-relationship between Bharatanatyam and Built Space.
BharatanatyamClassrooms:Allclassroomsonthecampusaresingleroomsandaresprawledoneafter theother.Theyareroughlyoftwosizes:
8mX6m
6.6mx5.5m
Itisasimpleconcreteblockwithredoxideflooring.Theclassroomisnaturallyventilatedbywindows. Classes are sometimes held in open space under the huge Banyan tree in the centre of Kalakshetra as shown infigure 4. The practice sessions are generally held outdoors. In zoning dance classroom zone isinthecentreofthesite.
PadmaPushkarani:Itisasmallsteppingwaterbodymeasuring17mx17m.Theamphitheatrehasbeen named after Padmasini, who was the caretaker at the hostel. An old water body is still there which is madelikeapondthatstepsaround.ThereisaVishnustatueinfrontoftheinstrumentsroom.Students conducttheir dancepracticehere.
Hostel block: It is facing towards the sea and also it is receiving privacy. There is a large dining hall with attached kitchen facilities. The cottages are arranged such that they have a landscaped area in betweenwhichactasaspilloutspace.
Services: There are seven security cabins on the campus and proper sign boards are there. There are two overhead tanks of 25000 litres each. Fire extinguishers are provided in spaces like Auditorium, offices etc. Parking is split into two parts, one near the entrance and the other near Kalakshetra Auditorium.ElectricLTlinesrunthroughoutthecampus.
Auditorium: It can sit upto 800 people. It is situated centrallyin the plot as shown in figure 5; it also has direct access from the external road on the northside. There are 430 chairs in the octagonal wall, 168intheperipheralverandaand105inthebalcony.The auditoriumhasfiveentries,threeleadingto theseatingareaandtwoforperformingarts.Theauditoriumhasfiveentries,threeleadingtotheseating area and two for performing arts. The stage is 450mm higher than the lower seating area as it is only used for Bharatanatyam performances. The stage area is 45% of the audience seating area. The auditoriumhas10levelsoftheseatingarea,thedimensionofoneis750mmx750mmx1000mm.The auditoriumiscoveredwithtraditionalrooftilesandbuiltwithmaterialswithtimberfinishandredoxide flooringwhichisshockresistant.
RukminiArangam:Itwasdesignedwiththehelpof architectKiffinPeterson.Itmeasures24mx20m, theopen-air space can accommodate 300 people. The stage is formedofblackoxide whichis suitable foreffective lighting.
Inferences:
Alotofimportanceisgiventonaturallightandventilation.
Redoxideflooringisusedwhichisshockresistant.
Some classes areheld under the banyantreesame asin earlier times Bharatanatyam classeswereheldinopen-air.
ThestageheightislowasitisonlyusedforBharatanatyamperformances.
ThespecialorganisationisscatteredinKalakshetraacademy.
It is located onthe outskirts of Bangalore; it is India’s first modern gurukul for Indianclassical dance set up by an Odissi Dancer Protima Gauri in the year 1990. Nrityagram, an institution which revives the traditional guru shishya method of training. The school offers training in Indian classical dance forms such as Odissi,Mohiniattam, Kathak, Bharatnatyam, Kuchipudi, Kathakaliand Manipuri, eight hours a day and six days a week for seven years. It was built by the architect Gerard Da Cunha. The approach of the architect was to use the locally available materials and to design a community for dancers.However,itdidnotmakethemainpreciseplan,andgrowthoccurrednaturallyovertime.
ThevariousdesignstrategiesadoptedbyGerardDa Cunhawere:
Use of granite as a locally available material for columns, foundations and roof structure.
The process of designing rooms with simple geometries that would allow spanning stoneslabroofsacrossthem.
Foundationloadsaredistributedbyusingstoneplinthbeams.
Thedifferenttypesofmudthatcanbeusedforthemortar.
TechniqueofCuttingandliftingstone.
Mugdha Sapra/ The Inter-relationship between Bharatanatyam and Built Space.
The site area is a total of 4 hectares. The axis development suggested by the linear site began at its southern end next to a grove of casuarinas trees (the only existing feature of the site). Starting with a yogahall&temple,thegurukulsdevelopedontheeasternedge,withtheservicesthatsupportthemon thewest side.Themain entrancetothe axisis betweentheyogacenterandthefirstgurukul.To avoid disturbancegurukulsare placedseparately.
Classrooms: A hall attached with residence of teacher is used for teaching Indian classical dance. A Gurukul have walls with small openings, only for ventilation & light. There are many landscaping sculptures. Some have flooring of Burma teak which cares for dancer’s feet and joints. Other have flooringofredoxide.
Service block: It contains dining hall, kitchen and room for the cook. Staircase is supported by the archway. It has a central courtyard around which the rooms are placed. One reaches the gurukul by goingaroundtheserviceblock.
Amphitheatre:Thereisanamphitheatrebuiltfromtheredearthalongthelinesofromanamphitheatres withacapacityof4000peopleforperformances.ItwasdesignedbyGerardDaCunhain1990.
Guestcottages:TheyareinspiredbytheyurtsofTibetandLadakh.Theyareroundinshape.Theyhave recently changed the roofing from thatch to tile. Roofs are covered with palm leaves. The window frames of the hostels are made of cut stones with wooden shutters. The hotels have in-built furniture. Theyhave commonlivingareabetweeneachpairofcottages.
Temple: It is built from raw mud and is dedicated to five elements. It has decorative panels depicting the dance motifs and designs from costumes and ghungroos. The temple is built from raw earth of Nrityagram.
Yoga Centre: It is a reminiscent of Stonehenge and is an open structure attached to the temple. This space is also used for dance performances. The beams and columns in yoga centre are supported on self-weight.Redoxide flooringisusedwhichisgoodfordancing.
Gardens:Fruitsandvegetablesaregrownontheirownandthesameusedforthecookingpurpose.They havestoneseatingasinteractivespace.Stonepavementisthereforthepathways.
Future plan: They are building a"Whole Body Centre" for the dancers at Nrityagram. This willhouse two studios for dance (with sprung flooring), a gymnasium, Yoga room, massage room, steam room andJacuzzi.Inaddition,oneofthedancestudioswillalsoserveasanindoorworkshop,whichwillseat 250people.
The Dance Collection:A historyof Indian classical dance over the last 100yearswill be housed here. This will be open to all. They are also planning a comprehensive display of dance costumes from all over India and a display of musical instruments from India. They are also planning a display of photographs, writings, video recordings, costumes, music, etc. covering the life of the founder of Nrityagram.Also,therewillbeanexhibitionthattracesthebeginningsofNrityagramandhowProtima Gauristartedit.
Inferences:
Alotofimportanceisgiventonaturallightandventilation.
Sensitivitytolocalconditions:Theyhaveusedthelocallyavailablematerialsandtheexisting featuresonthesitetendtohaveagreatimpact.
Theconceptofregionalismisfollowedandthedancevillageisbuiltatlowcost.
RedOxideflooringisusedwhichabsorbstheshockwhiledancing.
Thecolumnsandthe beamsaresetoutwithoutusingmortar.
Survey Report:
Mugdha Sapra/ The Inter-relationship between Bharatanatyam and Built Space.
Inferences:
• If there is a choice of location majority will prefer open-air spaces as it was followed in temple architecture too, the devadasis used to dance in Nritta Sabha.
• Majority Bharatanatyam dancers choreograph their performance according to the space provided as each space has different characteristics.
• Some performances are preferred to be performed in close covered spaces as open-air spaces may cause distractions.
• The distance between the audience and dancer should not be large as audience should also feel the performance.
• Sprung flooring should be majorly used as it is shock resistant and protect our knees.
• Lighting and flooring are major design features for Bharatanatyam studio.
Mugdha Sapra/ The Inter-relationship between Bharatanatyam and Built Space.
• Bharatanatyam dancers need both mirror and a view of nature in a dance studio as it is need to correct movements with the help of a mirror and natural ventilation are also required.
• Dancers believe that a better design of a built space can produce better movements of Bharatanatyam.
Conclusion:
It is now obvious that there is much that architecture and Bharatanatyam have in common. Also, there are many concepts that architecture can adopt from Bharatanatyam. Your brain is not only a powerful tool for interpreting certain aspects of the environment in certain ways, but your brain also plays a key role in making decisions based on that definition. The principles of design are common in Bharatanatyam and architecture as both fields use line, rhythm, space, and movement. The architect uses spaces, turning them into forms that are static, without motion, as space is fluid. The Bharatanatyam dancer would then be able to render visuals of forms-triangles, squares, circles, curves, etc.
Dance expresses the self and our lives by utilizing the body to create, move within, around, and through the space. Dance does not have to be a scored performance; rather every natural movement produced by human beings is like dance. Space has a unique characteristic that is understood by Bharatanatyam. There is a connection between life and space which can be easily studied through the interrelationship between Bharatanatyam and architecture. Architecture should address needs greater than function, and focus on the cultural identity of people in the community. The goal is to create a dynamic environment in which people can experience their sense of freedom. It is the attempt to a step toward the synthesis of an interactive playground within an ordinary space.
Recommendations:
Before setting out to design the living and learning environment for Indian classical dance forms like Bharatanatyam, the architect perhaps would have to watch a lot of dances before designing such a centre. A built space for Bharatanatyam should always have a direct connection with nature.
As a consequence of the observations made in the case studies, I realised that a positive and supportive interaction between the inmates of the institution must be encouraged. This is possible by planning interactive spaces and while planning these spaces the designer should attempt to recreate a sense of neighbourhood. The spaces should attract people to opportunities for socialisation, participation, and for evoking a warm environment. All areas also must have an either physical or at-least visual links with outdoor spaces. It would be disastrous to create a totally internal environment. Corridors and movement paths in such institutions are major social areas for interaction. Singly loaded, deep wellshaded corridors having one side open to the landscape provide an ideal setting. A right balance of designed or formal open spaces and informal spaces has to be created.
From the survey questionnaire, it is observed that people agree that a built space plays an important role forbettermovementsofBharatanatyamanddancersprefertheuseoftraditionalvernaculararchitecture.
Flooring: The right choice of flooring should be either sprung flooring or red oxide flooring as they are shock resistant and they sustain injuries. Figure 8 shows the detail of sprung flooring.
Use of mirrors: For a Bharatanatyam dance studio there should be mirrors inside the studio and a view of nature. The studios can be semi-open. Figure 9 shows a semi open studio.
Open air space: Open spaces for practice were observed in case of studies too and are preferred nowadays too. Students also prefer to practice under a tree.
Ventilation: There should be proper natural ventilation in a Bharatanatyam dance centre.
Acoustics: Trees play an important role as a buffer or noise absorbers of the sound generated within and outside the site so there should be provision of the right number of trees.
Lighting: For a traditional approach for a Bharatanatyam studio, natural lighting plays a major role as answered by the dancers. Most dance studios opt for fluorescent bulbs and combine it with natural light where needed.
More greenery: From the survey it is clear that there should be more trees and plants near a dance studio for noise absorption and better learning.
A sensitive approach to the design of an institution for Indian classical dance forms especially Bharatanatyam, while keeping careful tabs on the aboveguidelines wouldtogether contributeto a better human environment. The survey and case studies above can be a powerful tool for designing a Bharatanatyam dance studio.
Acknowledgements:
The research work embodied in this research paper titled “THE INTER-RELATIONSHIP BETWEEN BHARATANATYAM AND BUILT SPACE” has been carried out under design as part of the undergraduate research paper programme in the College of Architecture, Vastukala academy under the supervision of Ar. Sarika Narayana.
I declare that this is my original work and has not been plagiarized.
Mugdha Sapra/ The Inter-relationship between Bharatanatyam and Built Space.
References:
Nayak, S., 2008. Dance and architecture: Body, form, space and transformation. University of Maryland, College Park.
Elango, M., Prasad, L. and Rajeswari, R., 2021. Bharatanatyam and Generative Design: Exploration of Spatial Grammar through Indian Classical Dance.
Jayakrishnan, K., 2011. Dancing Architecture: The Parallel Evolution of Bharatanatyam and South Indian Architecture (Master's thesis, University of Waterloo).
Unpublished Dissertation:
Naik, Mukta., 1997. Dance and Architecture Movements, Feelings and gestures. SPA Delhi.
Roy, Shinjita., 2012. Architecture generated dance movements. SPA Delhi.
Narayan, Nikita., 2014. Dance and Architecture. Vastukala Academy, Delhi.
Books: Natyashastra (200 BCE-200 CE)